Stage marking in dance is an important step in the day-to-day activities of the dancer and the choreographer. It is in the marking, given by the choreographer and executed by the dancer, that the gestures and movements that make up the scene are specified for further practice during rehearsals in classrooms and on stage. The stage marking, in a dance show, also serves as a guide to other activities that occur simultaneously to complete the performance, such as the dance itself, acting, music, costumes, lighting and set design. For professional dancers, following the stage marking in rehearsals and performances is an easy activity. However, amateur dancers, for their little experience in making use of stage marking, end up having great difficulty in memorizing and performing the choreography designed by the choreographer for the show. This research is based on the opportunity to unite Design and technology in the interactions that take place on stage, in dance performances, seeking to investigate new possibilities for stage marking specifically in ballet. The study had as its theme the use of interactive technologies in the stage marking, and as objectives to observe if and how the introduction of digital interactive technology affects the interaction and communication between choreographer and dancer during the elaboration and execution of the choreography, as well as to identify suitable technologies to this activity. The methodology adopted in the exploratory research included techniques of unsystematic observation, participatory observation, direct documentation, extensive direct observation, interviews, development of experiments and observation of their use. A first experiment consisted of an interactive system composed of a wearable ballet flap used by the dancer and connected by sensors and wire to a graphical interface controlled by the choreographer on a laptop. In testimonies recorded after performing tests with a choreographer and a dancer, it was possible to identify specific points where the introduction of digital interactive technology has made a positive contribution to the interaction between choreographer and dancer. In a second moment of experimentation, a wearable was developed to function without the use of the wire, being activated by the choreographer via Wi-Fi in the laptop. The experiments carried out indicated that Design and technology, in the context of ballet stage marking, besides facilitating the execution of the choreography by the dancer, brought comfort to the choreographer who, when using the software to guide the movements and location of the dancers from his laptop, has the possibility to move around in the environment, enriching his overview of the whole show with a variety of points of view. The research evidenced numerous possibilities of developments and applications of the system, inside and outside the dance context.